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Romeo + Juliet on Live From Lincoln Center


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I didn't like the direction (and camera placements) during most of it--the side angles looked static and too low, and the cuts to the high angles were a little jarring at times. The center camera cuts also weren't great. The last act and tomb scene were better and the CUs worked well. As usual it was an all-male camera crew :) so as usual, I caught the missing details which showed a lack of experience filming dance.

During intermission, Leslie Stahl (who also intro'd the program) interviewed Peter Martins, (she then flubbed actress Joan Fontaine for Margot Fonteyn--PM corrected her), and asked some good questions (though we've all heard them before), and some only a non-balletomane would venture. She then interviewed the technical director, who briefly explained the collaboration process that created the set: a triumvirate of Peter, Per, and Perry. (How's that for alliteration?!) Then they showed some video clips of rehearsals in which Hyltin and Fairchild were interviewed (which might have been the same ones aired on the NYCB website.) And finally, an interview clip of the NYCB music director rehearsing with the orchestra. There was also an offscreen announcer (I assume in the booth) who seemed slightly more knowledgeable.

(Apologies for any misspellings or missing names--no program/notes in front of me. Also... in the interest of full-disclosure, I've never been a fan of this production; I prefer better sets, costumes, drama, and choreography. Still, the dancers were good, and I do like the more realistic swords and fight choreography.)

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Then they showed some video clips of rehearsals in which Hyltin and Fairchild were interviewed (which might have been the same ones aired on the NYCB website.)

I'm almost certain that all of the video clips that they showed were the Kristen Sloan creations that were on the website, though there was no acknowledgement, at least during intermission, as to the original source :)

The dancers were brilliant, really brilliant. As far as the production itself goes, I've seen it before, and I'm not exactly a fan.

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And some of the DORKIEST dancer acting ever, from principals and corps alike, with some lovely closeups to pick it all up. Dancer acting tends to be super dorky (sorry guys, but it always hits me like a wave when I see it in a full-length). I love the "concerned face" and attendant concerned gestures when something distressing happens center stage. And I swear someone was mouthing faux words, looking first at one person, then the next, then back to the first, etc. (perhaps mouthing, "wtf...wtf...wtf...wtf?").

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I've seen this production live several times (from the first performance, in fact).

However, whether or not we are personal fans of Martins' ballet, the fact that public television is able to offer

this live performance from Lincoln Center is to be applauded, and commended. What a wonderful opportunity for

people all over the country -- especially those that don't live in ballet-rich cities and towns -- to see one of the best

companies in the world perform. What is sad though, is that this program was broadcast on the same day that

WNET and WLIW (local PBS in NYC and Long Island) announced a huge reduction of staff. Why? Lack of viewer contributions, as well as big business donations, in this tough economic climate. This program prompted me to finally make the annual donation that I've been remiss about making this year.

As for the merits of this particular cast -- they were delightful within the confines of the ballet. And that music is simply stunning (no matter how many times I've heard it). The NYCB orchestra, under the direction of the excellent Facyal Kroui, never sounded better. Finally, any chance to see Jock Soto (I'm still not over his retirement) on stage again is reason enough to go to this ballet (as I did last week), or watch it on PBS (as long as they are able to fund such programming).

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....the fact that public television is able to offer

this live performance from Lincoln Center is to be applauded, and commended. What a wonderful opportunity for

people all over the country -- especially those that don't live in ballet-rich cities and towns -- to see one of the best

companies in the world perform. .....

Absolutely correct. However, let's call a spade a spade: this production is a real klunker, as I (and practically everybody else) wrote on this forum two years ago. The giant cardboard box of a set remains that, although it looks even worse in person, from the 4th Tier. At least the set looks less sparse from the lower levels, with the decorative backdrop in full view.

And now for what really bugged me about last night's telecast. Forgive me my usual honesty but...I have a serious problem when Juliet's nurse or even her mother have younger-looking faces than the Juliet. Some dancers are simply not telegenic and Sterling Hyltin is one of them. What a shame that make-up artists were unable to intervene.

On the other hand, Ms Hyltin's long lines, legs, feet, positions were absolutely glorious. Robert Fairchild was also quite wonderful but even HE does not have the most telegenic of faces, compared to how I see him in real life. On the other hand, Joaquin De Luz as Tybalt and Dan Ulbricht as Mercutio were both spot-on in their dancing and looking just as they do in real life.

It's hard to find much that's good in this horrendous production, though. To think - such a grand company with such an exquisite repertoire and this is what PBS saw fit to telecast? grrrrr..... Still, it's a once-every-four-years chance to see a top company on live TV in an evening-length ballet.

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Some dancers are simply not telegenic and Sterling Hyltin is one of them. What a shame that make-up artists were unable to intervene.

I'd never realized how much Sterling looked liked Darci Kistler when she was young. With her hair up like that, she looked eerily like Darci, especially in profile. I hadn't noticed that seeing her in person, or even the youtube interviews. Maybe it's the curly hair.

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....I'd never realized how much Sterling looked liked Darci Kistler when she was young. ....

Are you sure? Darci was (is) very telegenic, even now, with angelic facial features. The features of the two -- face and body -- are quite different, IMO. Only the blonde hair and perhaps the long legs are alike.

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I'm not going to debate the merits of R&J. Honestly, I'm not high on any story ballets at all (which is why I'm a NYCB fan).

That said, this particular R&J is packing people into the Koch theatre. Anything that helps bring NYCB (or any ballet company)

revenue works for me.

As for the comments about people being photogenic or not.

That's just a little too personal a discussion for me.

And it has little, if anything, to do with the merits of this or any ballet. Beauty is in the eye of the beholder, afterall.

For the record, I thought Robbie and Sterling both looked young and beautiful (as they do in real-life as well).

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As for the comments about people being photogenic or not.

That's just a little too personal a discussion for me.

And it has little, if anything, to do with the merits of this or any ballet. Beauty is in the eye of the beholder, afterall.

For the record, I thought Robbie and Sterling both looked young and beautiful (as they do in real-life as well).

You may like their looks, think they're beautiful, but there isn't anything 'too personal' for most of us about talking about somebody being 'telegenic', any more than there was about Marilyn Monroe being 'photogenic' or 'cinematogenic'. And in her juxtaposition of 'Appalachian Spring' productions about 10 years apart. Deborah Jowitt says of Matt Turney 'she's a real beauty', and 'the camera loves her'. That is definitely part of it, even if not the main part of it. It is a legitimate observation.

Edited to add? Sorry to ask here, but i missed the show on Channel 13 last night, can't find the original post with the schedules, and can't find it in the WNET TV Guide? Is there going to be another broadcast on WNET? I might as well give it a shot if I have time.

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Maybe the comments about faces are partly implicit comments about camera technique? Without close ups, this viewer at least is less aware of any shortcomings as conventional dramatic character in a dancer whose element is -- no joke intended -- body language, anyway. We're all better off when we're shown the whole body.

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Sorry, I don't agree at all with the telegenic comments by Natalia or Jack Reed.

This isn't a beauty contest, despite what various reviewers may or may not write about movie stars or dancers. And surely a ballet dancer

can't be compared to a movie star -- who is often, but not always, (partly) popular because of their good looks (as well as their acting talents).

I don't agree -- at all -- that a ballet dancer's "looks" can hurt/kill a performance. But maybe that's just me.

As for discussing camera angles, I think we should just be thankful that PBS was able to find the funding to put this

ballet -- or any ballet -- on national television (with reduced crews because of budget cuts etc.).

As for me, I'm heading back to NYCB tonight (and all weekend).

Have a good holiday weekend everyone!

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I was unable to watch and am hoping that my programming for dvr and videotape worked.

Thanks, 4mrdncr, for your insights as a filmer of ballet. And thanks, Deborah R and others, for reminding us how rare and important it is to have ballet availble to national audiences.

That said, it is a disppointment how many PBS affiliates opted not to show this performance when scheduled. There was much to be said in favor of having ONE SIMULTANEOUS broadcast, as in the old days. That bound ALL arts lovers into a single community (within our time zones, at least), sharing the experience in the same real time.

The director of the old Dance in Americ series had time to experiment and come up with techniques that were quite successful. Current tv producers must not get the chance to do this kind of work very often. Did anyone notice especially effetive camera work -- or something that was lost, glossed over, over- or under-emphasized, etc.? (This question is a :D for DETAILED DESCRIPTIONS. Please!)

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One scene that typifies the camera work was the scene when Juliet's parents visit her bedroom to urge her to marry. There are very few dancers on the stage, yet the camera kept cutting to a view taken from the right third-ring box. At the very end of the scene, Soto exits the stage, leaving Juliet alone and that camera angle pops up. There's Sterling Hyltin in the very corner of a practically empty stage and the camera is on a wide view, showing all that empty space. It seemed strange. It seems at that moment, you'd want the camera right in tight on Hyltin to show her anguish, especially since she's the only thing on stage. I do not like the ballet. I agree with one poster who said their dislike begins with Prokofiev score (which I think works best as a concert work rather than a ballet). I don't find the choreography distinguished in this production, nor the sets and costumes. That said, I think it looked better on screen, especially the first half than it does in the theater. The dancers did their best, as the always do.

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Bart, there were a couple of moments in the first swordfight scene where we got a view on the diagonal with the camera very low to the ground that I thought quite effectively put us into the middle of the fight. Rewatching that, though, I just noticed that one of the Montague's is wounded in this scene, and no one goes to his aid. Strange.

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I don't agree -- at all -- that a ballet dancer's "looks" can hurt/kill a performance. But maybe that's just me.

As for discussing camera angles, I think we should just be thankful that PBS was able to find the funding to put this

ballet -- or any ballet -- on national television (with reduced crews because of budget cuts etc.).

I don't think anybody was talking about the most IMPORTANT kind of performance in ballet--live performance--but the televised broadcast. That is less important, but talk of 'telegenic' never refers to live performance, 'Live from Lincoln Center' is still television, subesquently to be shown in recorded form.. And the performances by those not considered 'telegenic' were praised, if I reacll correctly. 'Being thankful' for a PBS broadcast of ballet doesn't mean we shouldn't talk about 'camera angles', when that's what's involved in any television show. Critique is necessary, and not just by professional critics that have more clout.

What's more, I only used one movie star for comparison, and did one example of a dance critic talking about a major dancer.

movie star -- who is often, but not always, (partly) popular because of their good looks (as well as their acting talents)..).

And even that's not so pertinent in today's film actors, is more the case with the old days , esp. 30s and 40s stars, and going in some cases into the 50s and 60s, before not being so important.

Okay, I finally found out it's on Sunday just after noon, so I'm going to check out this business.

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The thing that strikes me in the opening scene is, there is no character definition. Who are these people? neither the choreography nor the costumes tell you anything about them. The two color coded groups of women could have wandered in from a Tharp/Robbins ballet. Oh for Cranko's whores and flying oranges!

The acting was for the most part indicating by the crowd, and melodramatic from the principals, but I don't think you can blame the dancers so much as the direction, or lack thereof, that they received. And of course, this was a stage performance. Normally for an actor a performance for film would be less broad, and for TV even more subtle.

On the positive side, Sterling Hyltin's dancing......gorgeous! Daniel Ulbricht was a terrific Mercutio, and the sword fights were exciting, really well staged and performed.

I enjoyed the intermission segments, and you had to laugh at the idea of Joan Fontaine dancing Juliet!

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It wasn't even the Fontaine-DeHaviland mix-up, volcanohunter. Leslie Stahl showed that she is not a member of BalletTalk by forgetting who is MARGOT Fonteyn!

I watched my DV recording again last night. What truly amazing dancing we had from all principals. Earlier, I had forgotten to praise Antonio Carmena's Benvolio. Exquisite! That Act I exchange of 'dueling back cabrioles' between Carmena and Ulbricht is a highlight. Ulbricht's were a mile high - "Ivan Vasiliev high" & perfectly parallel to the floor. I'm glad that all of these dancers have now been filmed in their prime, for posterity's sake. I hope that we don't have to wait another 3-4 years for another NYCB telecast...hopefully with choreography by Balanchine, Robbins or Wheeldon.

Yes, the angles were rotten. Seldom flattering for the two leads.

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Aside from the ugly sets and simplistic choreography, the use of "young" lovers simply did not work for me. I longed for the grandeur of a Ferri or Fonteyn--who tell volumes just by sitting very still---and not showing all their emotions in their face alone---it was like watching an emoting heroine from a silent movie. But the character that really raised my hairs was Martins treatment of Mercutio---he looked like an escaped Joker from Swan Lake---he kept bobbing up all over the place.

That said, my apologies to Hyltin and Fairchild (a most handsome Romeo!)---two very talented dancers--it's not their fault.

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It wasn't even the Fontaine-DeHaviland mix-up, volcanohunter. Leslie Stahl showed that she is not a member of BalletTalk by forgetting who is MARGOT Fonteyn!.

I don't think it's exactly forgetting. It's more like "surfacing subtext", in this case a mnemonic. At least she didn't use FRANK Fontaine to remember how to pronounce "Fonteyn".

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